Review – Fawlty Towers the Play – Congress Theatre, Eastbourne

Fawlty Towers – The Play is pure comic bliss — a riotous and affectionate revival that captures the genius of John Cleese’s original while standing confidently on its own theatrical feet. Adapted by Cleese himself, this stage version concentrates on three of the sitcom’s twelve episodes — “The Hotel Inspectors”, “Communication Problems” and “The Germans” — although fans of the original TV version will recognise affectionate nods toward many of the others. 

From the moment the lights come up on the meticulously recreated Torquay hotel lobby, the sense of nostalgia is overwhelming, but this is no museum piece. Under Caroline Jay Ranger’s perfect direction, the pacing is breakneck, the physical comedy exhilarating, and the atmosphere electric. The set design evokes the 1970s in all its garish glory, yet everything feels fresh and vibrantly alive. 

Danny Bayne delivers an extraordinary performance as Basil Fawlty, channelling Cleese’s manic precision without imitation. His Basil is still a man forever at war with life, a whirlwind of frustration, pomposity, and thwarted ambition. Mia Austen, as Sybil, is a delight: commanding, cynical, and effortlessly funny. Hemi Yeroham’s Manuel radiates warmth and lovable confusion, and Joanne Clifton, as Polly, anchors the chaos with perfect comic timing. Together with a tremendous supporting company, which includes Paul Nicholas as The Major, they form an ensemble cast as tight as any in the West End. 

The play’s biggest triumph lies in its balance of reverence and reinvention. Every famous line lands so well, with “Don’t mention the war!” and “I know nothing!” greeted with cheers, and yet it never feels like a pantomime. Instead, the laughter comes from the energy and authenticity of the performances. The audience isn’t just remembering the jokes; they are rediscovering them. 

What could be pure nostalgia becomes, instead, a celebration of precision comedy. Cleese’s writing remains as sharp as ever, and the dialogue is rife with rhythm and absurdity. Ranger’s staging makes full use of the huge set, using every door, corridor, and prop to conjure up the escalating chaos that always defines a great farce. 

In the end, Fawlty Towers – The Play is a triumph of timing, talent, and sheer comic invention, a joyous reminder of why Cleese’s creation became a cornerstone of British comedy. It’s fast, funny, meticulously executed, and bursting with affection for its source material. Whether you’re a lifelong fan or a newcomer to the madness of Basil and company, you’ll leave the theatre grinning, quoting your favourite lines, and perhaps even checking in for another stay at the world’s most delightfully dysfunctional hotel. 

*****   Five Stars